Harold Pinter

1 Cast The Cave of Salamanca Julio Cortázar Barber Miguel Cubero Student Palmira Ferrer Cristina (Leonarda's maid) Javier Lara Reponce (sexton) Luis Moreno Leoniso (Pancracio's friend) Inma Nieto Leonarda José Luis Torrijo Pancracio (Leonarda's husband) The Jealous Old Man Julio Cortázar Cañizares' friend Miguel Cubero Constable Palmira Ferrer Sra. Ortigosa (Lorenza's neighbour) Elisabet Gelabert Doña Lorenza Javier Lara Attractive young man and dancer Luis Moreno Cañizares (Ortigosa’s husband) Inma Nieto Cristina (Lorenza's maid) The Tableau of Marvels Eduardo Aguirre de Cárcer Quartermaster Diana Bernedo Juana Castrada (peasant woman) Julio Cortázar Governor Miguel Cubero Chanfalla Palmira Ferrer Teresa Repolla (peasant woman) Elisabet Gelabert Chirinos Javier Lara Juan Castrado (alderman) Luis Moreno Pedro Capacho (notary) Inma Nieto Rabelín José Luis Torrijo Benito Repollo (mayor) All Songs Eduardo Aguirre de Cárcer Musician Artistic Team Direction José Luis Gómez Music Luis Delgado Set Design Based on the original design by José Hernández Costume Design María Luisa Engel Lighting Juan Gómez Cornejo Director's Assistant Carlota Ferrer Arrangement of ballads & proverbs Jesús Domínguez Costumes made by Sastrería Cornejo Stage design Utilería-Atrezzo SL y equipo de La Abadía Photography Ros Ribas Acknowledgments to Agustín García Calvo, Vicente Fuentes, María del Mar Navarro and Rosario Ruiz Rodgers for their influence on our work 2 Rediscovery of an Emblematic Show Entremeses (Interludes) was one of the first shows produced by La Abadía and is strongly engrained on the public's memory. This work was the result of a long process of training and research by a series of young actors, many of whom are still linked to La Abadía and all of whom are in great demand within the realms of private and public theatre, cinema and television. In addition to its two runs at La Abadía, this production undertook an extensive tour that included various theatres abroad (in Germany, France, Italy, Mexico and Poland), encompassing a total of 232 performances. It received the following awards: Ercilla Prize for Best Drama Creation in 1996; Award from the Independent Theatre Association of Alicante for Best Stage Direction in the 1996-97 Season; Valencian Critics' Award for Best Production in 1997; and Public's Choice for the Theatre Company at the International Theatre Festival of Vitoria- Gasteiz. In order to mark its Twentieth Anniversary, La Abadía has reinvented Entremeses or Interludes, consisting of a series of works performed by a group of actors that includes several members of the original cast. Cervantes' popular appeal and linguistic power will once again come to life in these three well-known comical tales set in a rural environment, focusing on themes such as love, desire, deceit, jealousy and cunning. 3 Introduction by José Luis Gómez In his introduction to the show, José Luis Gómez reminds us that Azaña called Cervantes "our spiritual father and he highlights the extreme elegance and apparent simplicity of the language in Interludes. He also emphasises the fact that Cervantes was influenced by the commedia dell'arte as a result of his stay in Italy - to the point in which the tale known as El viejo celoso (The Jealous Old Man) seems to borrow its title from a canovaccio entitled Il vecchio geloso. In a gentle and pleasant - yet incisive - manner, Cervantes mocks the theme of honour, one that was much overworked in the Spanish theatre of the sixteenth and seventeenth centuries. Alongside this aspect, we come across other themes such as criticism and tongue-lashing and the mockery of hypocrisy, intolerance and the almost consequent racism latent in the society of the age. 4 Synopsis In The Cave of Salamanca, Cervantes introduces us to the happy cuckolded husband, whose deception the audience delights in witnessing, freed for just a moment from the chains of morality. Pancracio, the husband, is characterised by his extreme cruelty and recalls the figure of the fool in the plays of Lope de Rueda. His wife, Leonarda, together with the student, are the main artifices of the deceit that befalls him. This is made possible partly due to Pancracio's unmeasured enthusiasm for the occult and his complete lack of judgment. In this respect, the work shows us that he is also guilty of his wife's deception. In this "Interlude", Cervantes uses comedy to criticise superstition and people's lack of faith in reason. In The Jealous Old Man, Cervantes dramatises the plot of the "Exemplary Novel" entitled The Jealous Old Man from Extremadura, Cañizares, an old man who has recently wed a young woman, is plagued with jealousy, a feeling that overwhelms him to a monstrous degree. His wife, who is shut away behind seven locked doors, curses her husband from the moment she marries him, and she will cheat on him on the first occasion that arises. The scene of deception in this well-known "Interlude" is one of the most ironic in Spanish seventeenth century theatre and takes place before the cuckolded husband's very eyes. The Tableau of Marvels, whose plot is somewhat similar to that of the tale of The Emperor's New Clothes and other popular traditions, focuses on two rogues who present a very special tableau to the local "powers that be" in a village: its pictures can only be seen by persons of "pure blood", not by bastards or descendants of Moors or Jews. In this manner, Cervantes sought to mock the blood cleanliness statutes of the age. 5 Cervantes and Tolerance Just imagine that, in three hundred years' time, experts in Russian twentieth century literature should regard the period as a Golden Age, studying the admirable work of authors such as Zamyatin, Mandelstam, Akhmatova, Bulgakov, etc., but without mentioning the asphyxiating context in which it was produced: censorship, secret police round-ups, gulags and inner terror. All of these writers were subject to these circumstances to a lesser or greater degree. This same conjuring trick or, rather, this intellectual and moral swindle, muddles our vision of Spanish literature, especially during its "conflictive age": when our writers confronted or sought to negotiate - and over a much longer period of time - a situation that was no less favourable than that which their Russian colleagues were obliged to face in more recent times. What do today's audience or readers know about the lives, trials and tribulations of Fernando de Rojas, Mateo Alemán and St. John of the Cross? What do they know about the rather un-heroic, hand-to-mouth existence of Cervantes himself? Do they teach us in school that, in his youth, Cervantes was condemned to have his right hand amputated and that, as a fugitive from Spain's arbitrary laws, he sought refuge in Italy under the shadow of the country's hardly virtuous cardinals, later joining up with the Lepanto military expedition, where fate was to lessen his stiff sentence by crippling his left arm and preserving the right, the one he would use in later years to produce Don Quixote? What do our teachers tell us of his humanly and literarily beneficial captivity in Algiers, of the shifting series of real and imaginary figures he wove regarding the pasha, of the latter's silenced pardons after his failed attempts at escape? What do they tell us of his return to an ungrateful homeland, which denied him permission to emigrate to the New World and condemned him to suffer the public ignominy of being a tax collector? And what about his status as a New Christian due to his own lineage and due to his marriage to another descendent of converts, Catalina de Palacios, who was related to the Rojas of Esquivias? And his time in debtor's prison? Or his adopted daughter and the bitter decision to leave her illiterate, the sole resort in a society hostile to learned women - who were branded as "Judaic" - so that he could find her a husband? Cervantes scholars who reduce the "Arabic manuscript" on which the story of Don Quixote is based to a simple footnote and accumulate useless erudition without analysing the work in any depth, are responsible for the fact that Spain's leading writer has been mainly read, commented upon and enjoyed abroad. What can we say about these small masterpieces that make up Cervantes' Interludes, if, until very recently, the mandarins at Spain's universities and academies wrote them off as being immoral "little works", which, as one of them skilfully argued, did not sit well "with the noble production of this great Spaniard"? Is this the reason why Cervantes never saw his Interludes performed during his lifetime? The short- sightedness and close-mindedness of the Right regarding the problem of castes and the mystification of clean blood by Old Christians -both key aspects of the bitingly ironic The Tableau of Marvels- or regarding the cheerful, relaxed and genial use of euphemism with which Cervantes ridiculed the way husbands obsessively defended their wives' chastity -the theme of The Jealous Old Man- have prevented comprehension of a series of work which, far from being a collection of "saucy" allusions, constitute a model of grace and humour, a restrained yet clear homage to tolerance and the natural laws of the body. 6 In a creative enterprise such as that of Cervantes', the main trunk of his literary tree is accompanied by a multitude of branches, roots and offshoots. The Interludes must be read as an indispensable part of his work. Each one shines with its own light. These apparently diminutive offshoots marvellously evoke the beauty of the whole tree and the airy grace of its canopy. Juan Goytisolo 7 What the Critics Are Saying A Joyful Re-Discovery by Gordon Craig (Diario de Alcalá) Having had many disappointing experiences, it is a rule of mine never to attend the re- staging of productions whose first staging I enjoyed.

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